Did anyone know that Room 33 was a thing, or has it just popped up now out of nowhere? Regardless, this brings us back to the Murder House (one of the better seasons of “AHS”) where The Countess arrives to abort a child. But the child is born anyways as an immortal demon like thing.
Yet this is only the second most interesting plot in an already bloated episode. First place goes to the love between Tristan and Liz Taylor. Who knew that O’Hare and Wittrock would have such excellent chemistry? It brings a freshness to the series without straying too far from the overall aesthetic and style.
Detective Lowe’s stock in being the most irritating character to come out of the show is rising. His paranoia has passed the point of pity and whenever he comes onto screen the show loses half of my attention. His screwed-up marriage with Chloe Sevigny’s character is equal to that of Rick and Lori in “The Walking Dead” with their daughter acting as the show’s moral balance. I’ll stop here because I’m bored.
There seems to be a coup d’etat in the works by the employees of the hotel against the Countess. With the love of her life now dead – though he will most certainly continue roaming the halls of the hotel – Liz Taylor is no longer the Countess’ only alley. It’s Gaga against the world.
This is the first episode in a long time that has created some lasting images that are neither terrifying nor gut-wrenching. Director Loni Peristere gives the show an ancient quality. Take Room 33 itself, an homage to Dark Romantic aesthetic and when the veil drapes over the Countess, it’s near immaculate.
All in all, this week was one of the better episodes.